The Deconstruction of Raskolnikov as Übermensch
THE DECONSTRUCTION OF RASKOLNIKOV AS ÜBERMENSCH
‘Murderer!’ he said suddenly, in a low but clear and distinct voice (pg. 231). In just one word (Part 3, Chapter VI of Crime and Punishment), the stranger’s direct label is a stabbing remark in opposition of Raskolnikov’s assumed identity. It is the debasement of a man-god, to be more apt a superman, who is ever so close to falling off the perch and into the abyss. “It was impossible to be sure, but it seemed to Raskolnikov that his face again wore its coldly hostile and triumphant smile” (231). Raskolnikov as the extraordinary man seeks not greatness but justice to serve his pursuits. The elevation is left to the ordinary people who are willing subordinates as puppets along the string. This process is jeopardized upon the first creases of that smile as Raskolnikov recognizes the utter blasphemy behind it all. A question that is not so obvious is whether the superman is born or made. Here, I propose my argument that it is a case of “nurture, not nature” that drives Raskolnikov. “No! Such people are plainly not made of flesh, but of bronze!” (232), Raskolnikov states after pondering Napoleon’s storming of Toulon and butchering in Paris among other actions. Napoleon is clearly Raskolnikov’s role model (he is mentioned and alluded to repeatedly throughout C&P) and it becomes clear that a Napoleon Complex is held by Raskolnikov. Alas, Raskolnikov’s struggle to recognize the depths of his unconscious state finally reveals in this self-analysis his failure to recognize a key difference between Napoleon and himself. His denial of the traditional morality of those around him (one supported by faith) brought upon the anarchy and nihilistic disposition which clouded his eyes. Juxtaposed in between his alienation from society on the one hand and the ordinary people on the other is reality which serves as a check and balance, so to speak, in addition to being the equilibrium. Raskolnikov can withstand guilt within his inner
‘Murderer!’ he said suddenly, in a low but clear and distinct voice (pg. 231). In just one word (Part 3, Chapter VI of Crime and Punishment), the stranger’s direct label is a stabbing remark in opposition of Raskolnikov’s assumed identity. It is the debasement of a man-god, to be more apt a superman, who is ever so close to falling off the perch and into the abyss. “It was impossible to be sure, but it seemed to Raskolnikov that his face again wore its coldly hostile and triumphant smile” (231). Raskolnikov as the extraordinary man seeks not greatness but justice to serve his pursuits. The elevation is left to the ordinary people who are willing subordinates as puppets along the string. This process is jeopardized upon the first creases of that smile as Raskolnikov recognizes the utter blasphemy behind it all. A question that is not so obvious is whether the superman is born or made. Here, I propose my argument that it is a case of “nurture, not nature” that drives Raskolnikov. “No! Such people are plainly not made of flesh, but of bronze!” (232), Raskolnikov states after pondering Napoleon’s storming of Toulon and butchering in Paris among other actions. Napoleon is clearly Raskolnikov’s role model (he is mentioned and alluded to repeatedly throughout C&P) and it becomes clear that a Napoleon Complex is held by Raskolnikov. Alas, Raskolnikov’s struggle to recognize the depths of his unconscious state finally reveals in this self-analysis his failure to recognize a key difference between Napoleon and himself. His denial of the traditional morality of those around him (one supported by faith) brought upon the anarchy and nihilistic disposition which clouded his eyes. Juxtaposed in between his alienation from society on the one hand and the ordinary people on the other is reality which serves as a check and balance, so to speak, in addition to being the equilibrium. Raskolnikov can withstand guilt within his inner
Cited: Dostoevsky, Fyodor. Crime and Punishment. Ed. George Gibian. Tr. Jessie Coulson. 3rd ed. New York: Norton & Company, Inc., 1989. Belov, Sergei. “The History of the Writing of the Novel”. Crime and Punishment. Tr. And ed. George Cibian. 3rd ed. New York: Norton & Company, Inc., 1989. 488-493.